Throwback Thursday: The DSLR-A900, Sony's first full-frame camera

Prior to September 2008, the only options for owners of Konica Minolta Alpha-mount lenses were APS-C DSLRs like Sony's DSLR-A700 (Sony acquired KM's camera business in 2006).

Then came the DSLR-A900, Sony's first full-frame DSLR, which had an expansive feature set for the relatively low price of $3000. The A900, whose large magnesium alloy body could practically drive nails, had a 24.6MP full-frame CMOS sensor paired with two Bionz processors. That combination gave users a fully expanded ISO range of 100-6400 and burst shooting that topped out at 5 fps.

The A900 with its optional battery grip. As you can see, even the grip is full of buttons.

The A900 was one of those cameras with buttons for everything. Heck, there was even a switch for turning its in-body image stabilization system on and off. It also had a joystick which you could use to set the focus point – something that's a big new feature on the a9. Back then the A900's 9-point AF system was pretty exciting, though it pales in comparison to what you'll find on a modern camera. Still, my colleague Rishi would be pleased that the A900 had AF micro-adjustment way back in 2008.

As you can see above, the A900 had a large pentaprism optical viewfinder, with 100% coverage and a magnification of 0.74x. The specs for its 3", 921k-dot fixed LCD are the same as you'd see today. For those wondering: no, the A900 did not have live view.

The A900 had CompactFlash and Memory Stick Duo (groan) card slots.

Being a Sony camera of that era, the A900 had a few quirks. It had two memory card slots (good), but one of them was for Memory Stick Duo cards. The A900 carried over Minolta's proprietary hot shoe, so if you wanted to use a flash with standard connectors, you'd need to use an adapter.

The A900 sits between its full-frame peers: the Canon EOS 5D and Nikon D700

As far as image quality goes, I think this quote from our review speaks for itself:

The Alpha 900 sets a new standard for resolution, edging past the EOS-1Ds Mark III by a whisker, and leaving its 12-ish megapixel competitors in a cloud of dust. Next to the Canon models the output looks soft, but in terms of sheer detail capture it's now the one to beat in the full-frame DSLR market.

The main downsides were that the camera applied noise reduction to its Raw images and that things got pretty noisy once you passed ISO 400.

Despite that, the Sony A900 was quite a camera for Sony's first attempt at a full-frame DSLR. It fell behind some of its competitors in some areas, such as autofocus speed, but that wasn't enough to keep it from earning a 'Highly Recommended' award.

Have any fond memories of the A900? Share them below in the comments. If you have any ideas for a future TBT, be sure to let us know!

I still use my 850, a great camera with great image quality, it's as good as the 900, only last Saturday I bought an old lens for it from my local camera shop that I am very pleased with, a Sigma 28mm f1.8 from about 1994, the results are first class, I also use the old Minolta 17-35 a lot, very useful, I will not be parting with the camera, just for the sake of interest my main landscape camera is the old Sony DSC R1 with that amazing Zeiss Sonnar zoom lens.

Wonderful to see the merits of the A900 acknowledged in this fashion. I moved from the Fuji S5 Pro (amazing tonality for its day) to the A900, with the Minolta HG 80-200 and the Sony 50 f1.4. I also had the amazing 135 f1.8 and the 16-35 CZ, but both were project oriented and now sold. DXO Prime is doing a very good job for anything above ISO1250 these days (it is worth re-processing some of the older images in fact). Too early to tell if the A900 will be considered a "classic" (as in, say, the Leica M3 category of classic cameras), but it's a no-frills stills camera, one of the last of its kind.

When the A900 appeared, other brand(s) and their followers were quick to emphasize the prime importance of low high-iso noise. Which, by coincidence, was the only serious weakness of the A900 compared to its competitors, particularly the D700. The amazing IQ, superb UI and stabilizer of the A900 were obscured rather quickly by this maneuver.

Yeah maybe Barney. Though sometimes it's beneficial to shoot several frames on the a900 right after the first to get a sharper one. But here I am talking really low shutterspeeds and without steady shot. That would possible have something to do with mirror or shutter vibration, or just steadier hands.

Still one of the most pleasurable Sony cameras to actually use, because it operated like a camera, not an electronic gadget. I had the A850 but practically the same as the A900, save the viewfinder difference.

I actually have a lot of the images I took from the setup in my Lightroom catalog and they're still gorgeous images. Was lucky enough to have the CZ 24-70/2.8 and the Sony 70-400, which focused slow as hell but had outstanding IQ.

@tbcass Yeah horses for courses I guess. I'm not a snobby camera 'purist' by any means, but there is a point to where the operation characteristics of a camera definitely get in one's way instead of enhance photography. That's why I'm a Fuji shooter now -- Tried Sony 5x times (A850, NEX-5N, A77, A7, A7ii) and only liked actually using the A850.

Of course, people can easily say they hate Fuji's operational characteristics...it's good to have choices :)

When I switched from Mamiya 645 to digital, I started with a Sony A100 which was a market leader at the time. Bought an A700 when Best Buy was blowing them out for less than half price, then a couple of years later got an A850.

For my needs (landscapes and models) it was an excellent system. Used Minolta lenses were easy to find and the base ISO quality was amazing.

Entire system got stolen and insurance bought me a new Canon outfit. I hated the EVFs and didn't want to go Sony's direction when I could start over.

I'm happy with my 6D now. Lower resolution but similar handling and in a different universe for high ISO.

this article is about the a900 , not your 6d. In any case people went to a900 because of the zeiss glass, not the minolta. Problem with that camera and a zeiss? none for the photographer (beside needing a stupid/absurd adapter to trigger), but the production and retouching people hated it. Difficult with the colors, it took forever to process and optimize. But high fashion people loved it. I know one who did (love it). Mostly because of the zeiss glass

@ oldfashioned: While your comment reads informed it sparkles with misinformation respectively misleading wording. People went to the a900 not only for Zeiss glass but for their legacy stable of A Mount glass. CZ (=Zeiss) lenses from Sony do not need an adaptor. They are A Mount native. And "difficult with color?" Must have been JPEGS. The a900 noise "penalty" compared to CaNikon competition at its time came from the color filter choices at Sony, yielding colors that received high praise, especially when handling the a900 RAW files.

@ oldfashoined: Read up on the a850 and you may understand the point made by Lumigraphics. Besides, this article is about the a900, not about Zeiss glass or adaptors to trigger a PW, LOL. What's the point?

Being Minolta follower by birth I gravitated to Sony when switching to digital, after the a100 the a850 became a long sought after realization once the wallet was ready for FF. I was partly horrified partly drawn to the prism, for me it is Minolta SR7 over anything.

The camera is my best purchase ever (all categories) and I till use it more frequently then anything. It preforms great with soviet optics as well as sigmas heavier segment.

I remember when I first saw this, at a conference of some other camera brand. A colleague camera reviewer had this on him. At the time a FF Sony was still only rumored and in fact, its existence was generally in doubt. But I saw the prism and realized it could be no other camera. I'm still miffed at that colleague that he didn't let me fondle, I mean handle it.

I still remember the press trip Sony took us on. Picked us up in limo at our residences/hotel individually, took us to LA to a winery and a famous park where many films are made. The A900's we used had totally incomplete firmware, and the noise was horrendous on image play back. I was so scared to say something in front of everyone because of how nice Sony were being. This was a hugely important camera for them at the time, how could it be this bad!??

But I did, in a very curious and polite style and all ended up well in the end. It's a bit new to me to be a throwback, but that's probably because I remember all that time with the camera like it was yesterday. It was released in a time when digital was booming, and the interest in this camera was staggering. How dare anyone challenge Canon and Nikon with a full framer!?

Those were good times, lots of fond memories and lots of good friends made.

I still have my A900. I used it a few days ago along with a Minolta wide angle zoom to take a photo of my A99II in the corner of my living room with a Minolta 600mm f/4 mounted on it a surrounded by big flashes. It's built like a tank and still works as good as when I bought it.

Dave, been a LONG time. SO good hear from you! Message me so I can give you a new email address. I'd like to keep in touch if you can!

For full frame I picked up the Canon 6D quite some time ago. I think the 24-70mm f/4 macro is literally welded to it now. I have so many cameras though I don't know if I could count them all :). Still have the GX200? :)

That was a great cam with a beautiful viewfinder (0.74 x magnification). A total Minolta design. Sony sadly and slowly went down afterwards with their Amount. The SLT design was an awkward one, and I eventually left Sony for Canon. BUT, yes, the A900 was a great cam to own.

I wanted the A900 but budget forced me to the A700. (Having a 7D so much Minolta glass there was never an option to switch systems) A friend of mine ponied up for the A900 and a few years later I got myself an A99, so did he. We traveled together to Yellowstone back in 2014 and he brought his A900 because he didn't know the new camera yet. He loved it.

Again: an outstanding camera that serves me to today. All I need is the awesome center sensor, but actually, the camera has 19 (if not mistaken) sensors, 10 "hidden ones that help with tracking. Is it up to par to advanced sport cameras? Definitely not, but it did not keep me from getting "cracking" BIF shots. :). Learn how to use the thing.

I went for the A850, but hopefully you'll allow my to chime in, considering how similar these cameras are. I initially had many gripes about the A850 mainly to do with the user interface, but as time went by, we got along better and better. In the end, the K-1, its liveview focusing together with scandalously good ISO performance and my stash of Pentax lenses made me move it to backup camera. Here's what flickr thinks are my most interesting images with the A850https://www.flickr.com/search/?user_id=22070130%40N07&sort=interestingness-desc&view_all=1&text=a850

Still own one and use it for professional work sometimes, the appeal lies in three areas, the viewfinder and ergonomics are excellent but most importantly the colour/tonal rendition is just beautiful, as close to medium format neg film as we ever got with digital in my opinion.

Yep anything over 400 is a bit noisy but it can be cleaned up well enough, but in use I found 400iso really was 400, where as Canons I had at the time overstated their ISO so 400 on the Canons was really only about 250 ISO so the Sony disadvantage compared to the Canons was not really as great as it might at first appear.

The Canons in particular used a less dense red filters which helped high ISO performance but traded off colour quality, especially for ruddy skin tones, Sony chose to go with stronger filtering that traded off high ISO performance but liberated fabulous colour subtlety for the time and even for today.

The noise was largely a result of the red channel being far less exposed at a sensor level, but at low ISO it was fine.

I developed a whole system around shooting the A900 through a red/magenta filter with appropriate RAW processing, this equalised the cross channel exposure at the sensor level and liberated the most glorious colour, clarity and tonality I have ever achieved. Though effectively you are shooting at about 32 ISO.

the truth is, modern digital cameras give very "thin" color. The skin tones coming out of a900 are unattainable with modern hi-ISO sensors, due to the latter having much thinner color filters in front of the sensor pixels.

I'd question that @sunlit. Sounds good at first read, but it's wrong to assume that the high-ISO capabilities of modern sensors are bought by weak CFAs. If that were the case, base ISO would go up, which it hasn't.

I was amazed by this camera. I never got to own one. It was too expensive. I was happy with my D70s. But the possibilities of this camera made me a Sony for years. I still am. The a9 to me is my new dream camera. Canon and Nikon are just different in their path to imaging. That is okay. Plenty of room for all.

Not crazy at all. A850 has in body stabilisation and a mirror that does not clash with old M42 lenses the same way the 5D's does. I had rented a 5D for a while and made the A850 decision without any regret.

Some people need superior AF performance and others are needlessly obsessed with it. Coming from a Pentax ist DS, the AF was good enough for me :D

Having had 'simple point and shoot' cameras for my adult life I finally decided to step up and learn photography. I went Sony instead of the other traditional companies - based on the price deals at the time and confidence that they would evolve into a major player. Started with Sony 100 and kit lenses, then the 700 and then the 900 - my lenses got better too - Sony/Zeiss as I upgraded. I didnt really know what 'noise' meant in those days. I loved the 900 and didnt undertsand its limitations. I took it on a long trip around South America and Galapogos; the bird photos were wonderful and the shutter speed worked well with the ISO. The knobs and grip etc all took a bashing - as I didnt protect the body as it went in and out of my backpack. Off to Sony for a fix and it came back like new. It weighed a ton and heavier than a house - I loved it - a wonderful camera. I part exchanged it two years ago as I went into Sony mirroless bodies and Leica. Fond memories of a wonderful camera.

This was not sony's first full-frame camera but also mine. Coming straight from Minoltas Dynax 7d it was a huge step up. Great viewfinder, superior Image Quality. Though I first missed some of the direct controls on the D7D moving over to A900, which was packed with buttons too, was no issue.

Later the Fuji's x100 with hybrid viewfinder came along and I began to like the electronic viewfinder capabilities. Later, the A99 crossed my way and I sold the A900 to fund the A99.

In hindsight, I should have kept the A900 as a spare camera at least, but I rarely missed the OVF and A900 was sadly incapable of live view. Back in the days I thought, that I might need video as well and slt seemed to be the better option.

I never used video seriously and getting the A99 was rather a symptom of gear acquisition syndrome, because the A900 provided everything I really "needed"

I traveled to Patagonia in early 2009. I was a Canon shooter at the time and the 5D2 was not available in wide supply in time for my trip. I rented the a900 and a couple of Zeiss-branded lens. I still sell several 'money shots' from that trip shot with the a900.

Everyone is complaining about the noise from this camera at higher ISOs, but maybe there's life left in the old girl yet. Has anyone tried processing the raws with a current version of Lightroom? It has a pretty powerful noise reduction algo.

People got brainwashed because the Nikon gives a lot less noise than this camera and they are supposed to have the same sensor. But during that time, perhaps even now, using it at base ISO with enough light produces great IQ. I do not own this camera as I do not shoot A mount. I know a few people who has this. I was intrigued by its IQ and I always wanted the STF 135. So a few years later I finally got the STF but mount it on the NEX and now on the A7RII. Great combo.

Even if it had live view I probably would not have got it to use with the STF (just for pinpoint focusing and manual only). The Sony NEX really opened up a lot of possibilities for me and I never looked back.

I routinely used my A850 at up to ISO 1600 using Lightroom to process (and sometimes push) the RAWs. I think the problems were overplayed back then, but comparing it to my Pentax K-1, there is just no comparison beyond base ISO.

Part of the perceived noise problem was the 24mp sensor. When viewing at 1:1 pixels, you were enlarging the image twice as much as your old 12 mp camera, which made the noise look worse. But when you viewed the image in print or on screen, at a given size you were enlarging half as much as you would have with a 12 mpx camera. This reduced the noise visible.

Imagine you were back in the day of film, and you started inspecting negatives with a 20x loupe instead of your old 10x one. Of course your negs looked grainy.

This regular column always worries me in that it seems to focus on how much greater our current cameras are than ones released in the very close past. Here's an example this week of a camera that is still truly excellent. I get the impression that all DPR readers are professional sports photographers wanting highly performant AF and insane frame rates to nail the photo for the newspaper. But for landscape and still life photographers such as myself, the A900 and A850 are still beautiful and wonderful cameras, in no way obsolete. Luminance noise is observed at medium high ISO, but can be carefully removed in Photoshop et al, so it is not really a big problem. I use two A850's daily currently still and I am compelled to say I simply adore them. I am not saying they are the BEST CAMERA EVER that people are seeking, but for landscape, with good Minolta glass, they make luminous results of great beauty, with a warmth Minolta users know that's missing in many of the newer whizzo cameras.

I had an A900 for a year. It was a great camera. Very comfortable. As for the 5D. I bought that a replaced my A900 with it. It was also a very good camera. I still love its images. The 5D and 1dsmk2 both have very lovely images. Extremely unique. They just have a look to them. The A900 didn't have such files. But it was still a great camera.

I still shoot two A900s. Never failed on me. I don't think failure is supported in firmware ;)

I got a D800 for video - I'll consolidate to E-mount for vid and stills, but only when I see 4K at 60fps and 10 or 12 bit video recording (either internal or HDMI). For now, even the A9's 4K is 30fps and 8 bits.

Indeed. Panasonic DC-GH5 (and GH4 prior) have 10 bits - the whole "4K is so huge our hands are tied on color depth side" argument no longer holds water when we see cellphones, action cameras do 4K off their puny power budgets. Certainly the 1080x60P should be native 14 bit (compressed raw as you suggest). It's 2017.

I still have my A900 though these days it doesn't get much use . It was a very good camera, so much so that I bought a used A850 as a backup just in case it was no longer possible for it to be repaired (it never needed to be). The A900 was my main camera from when they first came out till I replaced it with an A99II earlier this year.

Minolta had already lost it's title when Minolta became the ridiculously long titled KonicaMinolta, which happened before Sony took over, besides Sony bought the camera business not the name an unfortunate mistake by Sony.

I lusted after this camera for years and finally bought one second-hand a couple of years ago, and it is my main camera for real estate and hobby photography. The battery life is superb (I haven't even got a spare as I can easily shoot 4 or 5 houses on one charge...although I appreciate that's probably asking for trouble), and if it broke I would probably replace it with another a900 (i have already tried breaking it once ny dropping it down some marble stairs but it wasn't its time to go). I just love optical viewfinders although the only EVF i've ever tried was the a57. I mainly use it with a sigma 12-24 (old model), a minolta 20mm/2.8 and a minolta 28-85. And what else would I do with the 4gb duo pro memory card i bought for my sons old psp if not stick it in the 2nd slot to act as an emergency card?

That's very close to the kit I used for the same purpose. That Sigma 12-24 really has a nice drawing style, with very little distortion. But you should try the Minolta 24-85, a wonderful, more modern walkaround lens that gives needed wide capabilities for a tiny price.

A mate and I tried one of these just before they hit the market. I remember loving the shutter, the viewfinder and the new Zeiss lenses. My mate was so impressed he bought right into the Sony system and dumped his Nikon gear immediately. He has gone on to take hundreds of thousands of photos with his and even published books with images from the A900, not to mention having many photos in music magazines. While he has moved on to an A99, that A900 keeps on trucking!

I loved the camera, but not the shutter. It was an alarming sound, like a rat trap snapping shut. Weakness in the a 850's shutter was its Achilles' heel. I paid to replace it once, then again before I sold it.

There were a few premature shutter failures in the A900, though I understand that others went for a very long time. I never tried an A850 but the A900 shutter just felt and sounded proper, like an old-school film camera, not a computer. Totally subjective, of course! It didn't seem to cause any shutter shock.

Although I agree with the form-aping-function aesthetics of the fitted-to-the-pentaprism hump, I am also glad that they aren't doing it anymore, as such styling would be a lie given the EVFs that all Sony cameras are now using.

And it wouldn't be appropriate for Canon nor Nikon either, as both of these manufacturers are packing extra features in that area (GPS for Canon, flash for Nikon). So as much as you don't have the retro aesthetics, what we do have is form-following-function. Form-following-function styling is much-longer-lived than anything else.

I might be a mirrorless fan, but there's something about those DSLR designs with their OVF showing the huge pentaprism on top (a900, and the recent Pentax K1) just to name a few that make me want to own one

The grip was outstanding, the weight gave it added stability and frankly you felt/feel that you are using a camera, not a computer with a lens stuck in front. Maybe that was the Minolta heritage, I don't know.

the grip of the a900 is very good. but the a700 has an even better one, at least for my hand. and yes, it is a camera with a computer inside, not a computer with an attached camera. i get more and more the feeling that it is a one-of-a-kind camera (well two, to be honest, since the a850 is almost identical). it has its weaknesses, but it is still a great photographer's tool.plus, the optical viewfinder is the best i have seen in any 35mm camera, be it a film or digital one.

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